Abstract
In the article films “Dyuba-Dyuba” and “Outskirts”, shot on the screenplays of Peter Lutsik and Alexei Samoryadov, are analyzed. It is established that the structure of each of these films corresponds to a form called “two-voiced word”. V.S. Bibler defines this form as the coexistence of various “syntactic structures in one artistic utterance”. Different “voices” in the films “Dyuba-Dyuba” and “Outskirts” do not muffle each other and are perceived as self-sufficient and equal literary-cinematic styles, genres and pictorial canons. Films “Dyuba-Dyuba” and “Outskirts” outwardly resemble the movie of 1990’s that uniquely belongs to prosperous in those years culture of “styob”. However, according to the author of the article, analyzed films are alien to typical for the “styob” vision of a certain “archaic” “object of distancing” from the point of view of allegedly “more progressive truth”. A. Hvan and P. Lutsik do not parody this or that “object of distancing”, but they are building certain relationships between different codes of culture, shown in considered films. Using the concept of M.M. Bachtin those relationships can be called “dialogical”. “Dialogical” form of a “two-voiced word” is interpreted in the article as a structure-forming base for “collective trauma” representation language. Such interpretation does not coincide with the assertion of the possibility for representing “collective trauma” only as implementation of pre-semiotic, “silent”impact on viewers. It means that despite an obvious similarity of analyzed films with postmodern pastiche they cannot be inscribed in a circle of those works that are directly related to the poststructuralist and postmodern concepts of“death of the author”, “emptiness” and “absence”.
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